The Dutch Golden Age, spanning roughly the 17th century, was a period of extraordinary artistic efflorescence in the Netherlands. Amidst a burgeoning merchant class and newfound national pride, art production reached unprecedented levels, with painters specializing in a variety of genres that captured the multifaceted life of the Dutch Republic. Among the many talented artists of this era was Pieter Harmensz Verelst, a painter whose work, though perhaps not as universally recognized today as some of his contemporaries, contributed to the rich tapestry of Dutch art. His life and career, along with those of his artist sons, offer a fascinating glimpse into the art world of the time, its networks, and its stylistic developments.
Early Life and Artistic Formation
Pieter Harmensz Verelst was born around 1618, likely in Dordrecht, a city with a rich artistic tradition. The exact details of his earliest training are not definitively documented, a common challenge when studying artists from this period. However, it is widely believed that he may have been a pupil of Gerrit Dou in Leiden. Dou, himself one of Rembrandt van Rijn's first and most famous pupils, was a leading figure of the Leiden "fijnschilders" (fine painters), known for their meticulously detailed and highly polished small-scale paintings.
If Verelst did study with Dou, this would have provided him with a strong foundation in precise rendering and the subtle handling of light and texture. Furthermore, the overarching influence of Rembrandt, whose innovative use of chiaroscuro and profound psychological insight revolutionized Dutch painting, would have been palpable in the artistic circles Verelst frequented. Rembrandt's impact was felt across genres, from portraiture to historical scenes, and his ability to convey emotion and drama through light and shadow left an indelible mark on many artists of his generation and beyond.
Career in the Netherlands: Delft and The Hague
Pieter Verelst's professional career began to take shape in the late 1630s. In 1638, he is recorded as having joined the Guild of Saint Luke in Delft. The guilds were crucial institutions for artists, regulating trade, providing training, and fostering a sense of community. Delft, at this time, was a vibrant artistic center, soon to be home to Johannes Vermeer, whose serene interior scenes would become iconic. Other notable Delft painters active around this period or slightly later included Carel Fabritius, another brilliant Rembrandt pupil whose life was tragically cut short, and Pieter de Hooch, known for his tranquil courtyards and domestic interiors.
In the same year, 1638, Verelst married Adriana van Gesel. The couple would go on to have several children, including three sons – Simon, Herman, and Johannes – who would all follow in their father's footsteps and become painters themselves, forming a significant artistic dynasty.
Later, Verelst moved to The Hague, another important political and artistic hub. By 1643, he was registered in The Hague, and in 1656, he became one of the co-founders of the "Confrerie Pictura." This was a new association of painters formed in secession from the traditional Guild of Saint Luke, aiming to elevate the status of painters and provide a more exclusive organization. Verelst served as its dean in 1659 and 1660, and again in 1663 and 1665, indicating his respected position among his peers in The Hague. Artists like Adriaen Hanneman, a distinguished portraitist, and Jan van Goyen, a prolific landscape painter, were also active in The Hague and involved with the Confrerie.
Artistic Style and Thematic Concerns of Pieter Harmensz Verelst
Pieter Harmensz Verelst was a versatile artist, proficient in several genres. He is known for his portraits, genre scenes depicting everyday life (often peasant or tavern scenes), and some historical or biblical subjects. His style often reflects the dual influences of the Leiden fijnschilders' meticulousness and Rembrandt's more robust handling of paint and dramatic use of light.
In his genre paintings, Verelst often depicted scenes of rustic life, taverns, and domestic interiors. These works align with a broader trend in Dutch art, where artists like Adriaen Brouwer and Adriaen van Ostade (both active in Haarlem and Antwerp) excelled in portraying the lives of common folk, sometimes with humor, sometimes with a moralizing undertone. Verelst's figures are often characterful, and his compositions carefully arranged, with attention paid to the textures of fabrics, wooden furniture, and earthenware. His use of light could be quite effective, highlighting key figures or objects within a dimly lit interior, creating a sense of atmosphere and depth.
His portraiture also demonstrates a keen observational skill. He aimed to capture not just a likeness but also a sense of the sitter's personality. While perhaps not reaching the psychological profundity of a Rembrandt or the aristocratic elegance of a Frans Hals, Verelst's portraits are solid, well-crafted representations characteristic of the era's demand for such works.
Representative Works of Pieter Harmensz Verelst
Attributing specific works definitively and compiling an exhaustive list can be complex, as is common with many Dutch Golden Age painters. However, several paintings are generally accepted as being by Pieter Harmensz Verelst and showcase his stylistic traits.
One such example is often titled "An Old Woman Reading" or similar, depicting an elderly woman, perhaps by candlelight, engrossed in a book. Such scenes allowed for the play of light and shadow and conveyed a sense of quiet contemplation, popular themes in Dutch art.
Another characteristic type of work is the "Tavern Scene" or "Peasants Carousing." These paintings typically feature a group of figures in a rustic interior, engaged in activities like drinking, smoking, or playing games. Verelst would carefully render the details of the setting and the expressive gestures of the figures.
His "Self-Portrait," if one is securely attributed, would offer insight into how the artist saw himself and wished to be perceived. Many Dutch artists painted self-portraits, not just as personal records but also as demonstrations of their skill.
A work like "Interior de cuisine" (Kitchen Interior), mentioned in your provided information, would fit well within his oeuvre of genre scenes, focusing on the everyday activities within a domestic setting. Similarly, a "Portrait of an Old Lady" would showcase his abilities in capturing age and character, potentially echoing the Rembrandtesque interest in depicting the elderly with dignity and pathos. While he is not primarily known for still lifes, the mention of a "Still Life of a Fruit Bowl with a Bowl of Fruit" suggests a breadth in his thematic interests, though his sons, particularly Simon, would become more famous for still life, especially flower pieces.
Pieter Harmensz Verelst's career in the Netherlands seems to have concluded or significantly slowed by the late 1660s. According to the information provided, he passed away in 1668, at the relatively young age of about 50. This date is somewhat earlier than some art historical sources suggest, which often place his death around or after 1678. Regardless of the exact year, his artistic output laid a foundation for his sons.
The Verelst Artistic Dynasty: A Legacy Extended
Pieter Harmensz Verelst's most enduring legacy, beyond his own paintings, was perhaps his role as the progenitor of an artistic family. His sons, Simon, Herman, and Johannes, all pursued careers as painters, with Simon, in particular, achieving considerable fame.
Simon Pietersz Verelst: "The God of Flowers"
Simon Pietersz Verelst (c. 1644 – c. 1710/1721) became the most celebrated member of the family. Born in The Hague, he likely received his initial training from his father. Simon specialized in flower painting and, to a lesser extent, portraiture. He moved to London around 1668 or 1669, where his exquisite flower paintings quickly garnered immense acclaim and commanded very high prices.
His floral still lifes were characterized by their meticulous detail, vibrant colors, and often complex, tumbling arrangements of blooms. He was a master at rendering the delicate textures of petals and leaves, often including dewdrops or insects to enhance the illusion of reality. His success was such that he earned the rather grandiose nickname "The God of Flowers" or the "King of Painting." His contemporaries in flower painting included masters like Jan Davidsz de Heem, and later figures such as Rachel Ruysch and Jan van Huysum, who continued to develop this popular genre.
An interesting anecdote involves the famous diarist Samuel Pepys. On April 11, 1669, Pepys recorded a visit from Simon Verelst, who tried to sell him a flower painting for the substantial sum of £70. Pepys, while admiring the work, found the price too high. This encounter highlights both Verelst's confidence in his work's value and his access to prominent figures in English society. He enjoyed the patronage of King Charles II, who reportedly acquired several of his paintings, further cementing his reputation.
Despite his artistic success, Simon Verelst was known for his vanity and eccentric behavior. There are reports suggesting he suffered from mental health issues, possibly schizophrenia or severe depression, particularly in his later years. This led to periods of instability and, according to some accounts, he was eventually confined to a mental institution. His life, a mixture of artistic brilliance, commercial success, and personal turmoil, makes him a colorful figure in the annals of art history.
Herman Verelst
Herman Verelst (c. 1641 – c. 1702), another son of Pieter Harmensz, was also a painter. He was active in The Hague, where he joined the Confrerie Pictura in 1663. He also worked in Amsterdam, Italy (Venice, Florence, Rome), Ljubljana, and Vienna before eventually settling in London around 1683. He painted portraits, genre scenes, and flower pieces, demonstrating a versatility similar to his father but also engaging with the popular floral themes mastered by his brother Simon.
Johannes Verelst
Johannes Verelst (or John Verelst) (c. 1648 – 1734) was the youngest of Pieter's artist sons. He, too, moved to London, likely by the 1680s, and established himself primarily as a portrait painter. He painted a number of notable figures, including, famously, the "Four Indian Kings" – Mohawk and Mahican chiefs who visited London in 1710. His style was competent and reflected the prevailing tastes in English portraiture of the late 17th and early 18th centuries, a field dominated by artists like Sir Peter Lely and Sir Godfrey Kneller.
Pieter Harmensz Verelst in the Context of His Contemporaries
To fully appreciate Pieter Harmensz Verelst, it's essential to see him within the bustling art scene of the Dutch Golden Age. He was working at a time when artistic innovation and production were at their peak.
In Delft, his contemporaries included Vermeer, whose mastery of light and serene depictions of domesticity set him apart. The tragic genius Carel Fabritius, with his experimental perspectives and brilliant brushwork, was another key figure. In Leiden, the fijnschilder tradition, potentially Verelst's early training ground, was championed by Gerrit Dou, Frans van Mieris the Elder, and Gabriël Metsu, all known for their polished surfaces and intricate detail.
The Hague, where Verelst spent a significant part of his career, boasted artists like Jan van Goyen and Salomon van Ruysdael, who were transforming landscape painting, and portraitists like Adriaen Hanneman. The broader Dutch art world included giants like Rembrandt in Amsterdam, whose influence was pervasive, and Frans Hals in Haarlem, renowned for his lively and characterful portraits. Genre painters like Jan Steen, with his humorous and often chaotic household scenes, also enjoyed great popularity.
The move of Verelst's sons to London reflects a broader trend of Dutch and Flemish artists seeking patronage abroad, particularly in England, where the native school of painting was less developed at the time. They joined a community of émigré artists and contributed significantly to the English art scene. Simon Verelst, for instance, competed and collaborated in a market that included established portraitists like Peter Lely (originally from Soest, Westphalia, but trained in Haarlem) and later Godfrey Kneller (from Lübeck).
Art Historical Position and Posthumous Evaluation
Pieter Harmensz Verelst occupies a position as a skilled and versatile painter of the Dutch Golden Age. While not reaching the towering fame of Rembrandt, Vermeer, or Hals, he was a respected artist in his time, as evidenced by his role in the Confrerie Pictura. His work contributes to our understanding of the diverse artistic production of the period, particularly in genre painting and portraiture. He successfully navigated the art markets of Delft and The Hague, producing works that appealed to the tastes of the Dutch middle and upper classes.
His most significant impact on art history, however, may be through his sons. The Verelst dynasty, particularly through the international fame of Simon Pietersz Verelst, demonstrates the transmission of artistic skills and traditions within families and across borders. Simon's success in London with his flower paintings brought a specific Dutch specialty to the forefront of the English art market, influencing tastes and inspiring other artists.
The story of the Verelsts also highlights the varied fortunes of artists. Pieter Harmensz appears to have had a solid, respectable career. Simon achieved great fame and wealth but also suffered from personal demons. Herman and Johannes found niches for themselves in the competitive London art world.
In later art historical evaluations, Pieter Harmensz Verelst is recognized as a competent master whose work is characteristic of the high quality achieved by many Dutch painters of his era. His paintings can be found in various museum collections, allowing contemporary audiences to appreciate his contribution. The dramatic life and dazzling flower paintings of his son Simon often attract more attention, but Pieter's foundational role as an artist and teacher within the family is undeniable.
Conclusion
Pieter Harmensz Verelst and his sons represent a fascinating microcosm of the Dutch Golden Age art world. Pieter himself was a product of its rich artistic environment, contributing to its diverse output with his genre scenes and portraits. His decision to foster his sons' artistic talents led to a lineage that extended Dutch artistic influence, most notably to England. Simon Verelst's flamboyant career as the "God of Flowers" in London, Herman's peripatetic career, and Johannes's portraiture all speak to the adaptability and entrepreneurial spirit of artists of this period. Together, the Verelst family painters offer a compelling narrative of artistic skill, ambition, migration, and the enduring appeal of finely crafted images, securing their place, collectively, in the rich history of 17th-century European art.
